This is Alina's second album. In the absence of any promotional blurb from Lithuania, we learn instead via Moscow that Orlova committed these songs to tape with nothing more than a couple of additional musicians. As a result, the "aestheticized cabaret" style of earlier recordings, full of accordions and other mobile tools, has become markedly simpler. This week's CD in its stripped-down format "was very carefully constructed. Each and every note has been hung in the air; each note is in its correct place." Looking for phrases to encapsulate that same, delicate magic, our Moscow-based author suggests that the songs even have a "visionary, divinely gothic" structure. Or, on other occasions, they become a kind of "cafe/chamber pop." Most of these fragile offerings are performed in Orlova's native Lithuanian, with an occasional detour into Russian or English.